Blood Eye (Raven, Book 1) by Giles Kristian PDF

By Giles Kristian

ISBN-10: 0345535073

ISBN-13: 9780345535078

In an exciting experience of brotherhood, conflict, and treachery, Giles Kristian takes us into ninth-century England, a global of darkness, epic clash, and an unforgiving God served by means of robust clergymen. On ships formed like dragons, bristling with oars and armor, Jarl Sigurd and his fierce Norsemen have are available in seek of riches. And riches they're promised, via an English ruler who sends Sigurd and his wolves to thieve a holy manuscript from one other nation. Osric, an orphan boy, sees past the fear of those warriors, and someway is aware the heathens’ tongue. Renamed Raven, rechristened in blood, he'll sign up for them. they're his humans. and they're going to be his fate.
 
“Astonishing and riveting, a robust, lightning-paced tale.”—New York instances bestselling writer Bernard Cornwell
 
“A gripping story that wonderfully evokes the sounds, points of interest and scents of darkish Age Britain.”—Harry Sidebottom, writer of the soldiers of Rome series
 
“[Kristian] compares favorably with writers like Bernard Cornwell and Conn Iggulden.”—Historical Novels Review
 
“A rip-roaring Viking saga . . . superb, robust, exciting stuff.”—Manda Scott, writer of The Crystal Skull

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Extra resources for Blood Eye (Raven, Book 1)

Example text

But among the ‘sondry thynges’ which books treat of are women, and here we not only have ‘other preve’, but we find the books themselves at variance; in opposition to the antifeminist tradition which is represented in the Legend’s Prologue by the Troilus, there are the ‘sixty bokes olde and newe’ in Chaucer’s possession which the God of Love cites as containing innumerable stories of women who chose to die rather than be unfaithful (G 273–310). How can the notion of literary authority survive such contradictions?

Chaucer must have known perfectly well that Troilus and Criseyde, for the reasons I have already outlined, is not an antifeminist work. Yet he also knew (as his picture of Jankin’s use of his ‘book of wikked wyves’ makes clear) that the subtleties of authorial intention are all too often submerged in the crude interpretations of the reading public. This being so, he both is and is not contributing to the antifeminist tradition in telling of Criseyde. He therefore avails himself of the conventional polarities of the ‘woman debate’ in order to make an equivalent contribution to the opposing stereotype of the suffering ‘good woman’.

At the end of Troilus and Criseyde, he not only apologizes for his story to the female members of his audience12 – Bysechyng every lady bright of hewe, And every gentil womman, what she be, That al be that Criseyde was untrewe, That for that gilt she be nat wroth with me. Ye may hire gilt in other bokes se; 12 The audience addressed may be the implied rather than the actual audience, since Richard Green (1983–4) has shown that the number of women at court was probably small. Such apologies to women for anti-feminist material are frequent enough in medieval literature to be regarded as conventional (Mann, 1991); but Chaucer’s use of the convention is differentiated from that of other writers by his immediate addition of remarks critical of men.

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Blood Eye (Raven, Book 1) by Giles Kristian


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